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1. "What hypertexts can do that print narratives cannot"

   'In this article, the author situates hypertext fiction readers in a binary relationship with their print counterparts. The hypertext reader is compared to the print reader in terms of the choices each medium allows.' 

   (Source: from Analyzing Digital Fiction by Alice Bell, Astrid Ensslin, Hans Rustad)

   Agnete Thomassen Steine - 22.09.2021 - 10:48

2. "Toward a Theory of Hypertextual Design"

   "Toward a Theory of Hypertextual Design"

   Agnete Thomassen Steine - 22.09.2021 - 11:27

3. Des figures de manipulation dans la création numérique

   Les créations numériques en ligne, qu’il s’agisse de bannières publicitaires, de littérature ou d’art numériques, reposent souvent sur des manipulations de la part du lecteur (par exemple déplacer un élément à l’écran, activer un lien, entrer du texte au clavier). Nous manquons néanmoins d’outils, notamment sémiotiques et sémio-rhétoriques, pour analyser le rôle de ces gestes de manipulation dans la construction du sens. Dans cet article, nous proposons un modèle d’analyse en cinq niveaux. Ce modèle distingue notamment des unités sémiotiques de manipulation et des couplages média. Ces couplages donnent naissance à des figures que nous appelons figures de manipulation.

   Kira Guehring - 22.09.2021 - 12:51

4. The impact of hypertext on processes of reading and writing

   Charney writes about how computers are changing the processes of reading and writing.

   Kira Guehring - 23.09.2021 - 12:16

5. Coherence in text and hypertext

   From the author:

   The concept of text coherence was developed for linear text, i.e. text of sequentially organized content. The present article addresses to what extent this concept can be applied to hypertext. Following the introduction (section 1), I will define different aspects of text coherence (section 2). I will then explain the importance of the sequential order of text constituents for coherence-building, as explored by empirical studies on text comprehension (section 3). Section 4 discusses how hypertext-specific forms of reading affect the processes of coherence-building and coherence-design. Section 5 explores how the new challenges of hypertext comprehension may be met by hypertext-specific coherence cues. A summary and outlook is included (section 6).

   Mathias Vetti Olaussen - 29.09.2021 - 11:36

6. From the árran to the internet: Sami storytelling in digital environments

   This essay investigates the use of storytelling in the process of cultural and linguistic revitalization through specific contemporary examples drawn from the Internet. By examining instances of adaptation of Sami tales and legends to digital environments, I discuss new premises and challenges for the emergence of such narratives. In particular, within a contemporary context characterized by an increasing variety of media and channels, as well as by an improvement in minority politics, it is important to examine how expressive culture and traditional modes of expression are transposed and negotiated. The rich Sami storytelling tradition is a central form of cultural expression. Its role in the articulation of norms, values, and discourses within the community has been emphasized in previous research (Balto 1997; Cocq 2008; Fjellström 1986); it is a means for learning and communicating valuable knowledge—a shared understanding. Legends and tales convey information, educate, socialize, and entertain. Their role within contemporary inreach and outreach initiatives is explored in this essay from the perspective of adaptation and revitalization.

   Jill Walker Rettberg - 24.10.2021 - 09:09

7. Nested Folders: On Birds in Digital Poetry

   Digital poets have long explored the representation of birds’ physical presence and their mediation through visual and sonic technologies. Noah Wardrip-Fruin attributes the “first experiment with digital literature and digital art of any kind” to Christopher Strachey (302). The word “duck” appears in Strachey’s Love Letter generator, programmed on the Manchester University Computer in 1952. The word is used as a term of endearment; it does not refer to a specific bird. Birds and bugs intermingle in Jörg Piringer’s early iOS app, abcdefghijklmnopqrstuvwxyz (2010). In this piece, the winged creatures are not represented pictorially, but rather, by behaviour. The user selects letter forms from the edges of the screen, which then soar, in the case of birds, or jitter, in the case of crickets. Maria Mencia’s earlier work, Birds Singing Other Birds' Songs, was first exhibited at the Medway Gallery in 2001. As is the case in Piringer’s app, the birds are composed of letter forms.

   J. R. Carpenter - 25.04.2022 - 10:42

8. Popular Prosody: Spectacle and the Politics of Victorian Versification

   Paper discussing John Clark's Latin Verse Machine (1843) and the effect of this kind of technology on popular understandings of prosody.

   Jill Walker Rettberg - 15.07.2023 - 13:52

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